ALAN BIBEYSince first hitting the professional scene in the early 1980’s, Alan has made a name for himself as one of the most creative and technically gifted mandolinists in bluegrass and acoustic music. He was an original member of such ground-breaking bands as The New Quicksilver, IIIrd Tyme Out, BlueRidge and, for the last 9 years, Alan Bibey & Grasstowne. He was selected as Mandolin Performer Of The Year for 2007, 2009 and 2010 by the Society for the Preservation of Bluegrass Music of America (SPBGMA) and won Album of the Year

in 2008. His IBMA awards include Instrumental Album of the Year in 2001, Album of the Year in 2006, and Recorded Event in 2012. He has had numerous #1 albums and songs, including Grasstowne’s latest, “Cold Dark Ground”, which he wrote with country great Mark Collie and Ronnie Bowman. His recent project, The Mandolin Chronicles, was nominated last year for 5 IBMA awards. 2004’s BlueRidge project, for which he wrote the title track, was nominated for a Grammy. He was included in the Mel Bay book, Greatest Mandolin Players of the Twentieth Century, and in 2004, the Gibson Company put into production the Alan Bibey Signature line of mandolins, reaffirming his status as one of the most influential mandolin players in bluegrass and acoustic music history. www.alanbibey.com

MIKE MARSHALLMike Marshall is one of the most accomplished and versatile mandolinists in the world today. Since 2011, Mike has taught hundreds of mandolinists from around the world through his Mike Marshall School of Mandolin online website. Mike is a living compendium of musical styles and has created some of the most adventurous and interesting instrumental music in America today. He seamlessly blends his American roots background with a deep understanding of European classical, American Jazz and Pop styles and Brazilian and other world musics. Mike cut his teeth on traditional American music in

Florida, but by age 19 he was snatched up by the groundbreaking David Grisman Quintet to tour and record with jazz violin legend Stephane Grappelli. Since then, Mike produced over 40 of his own recordings on the Windham Hill, Sony Classical, Rounder, Sugar Hill, Compass and his own Adventure Music label and performed and recorded with Edgar Meyer, Bela Fleck, Chris Thile, Hamilton De Holanda, Darol Anger, Joshua Bell, Mark O’Connor, Vasen and the Turtle Island Quartet. In 1995, after a trip to Brazil, Mike

fell in love Brazilian choro music and went on to spearhead a renaissance for that style of music here in the U.S. with his group, Choro Famoso, which has released two CDs. Mike is currently the director of the American Music Seminar at the Savannah Music Festival, where each spring he hand-selects 15 of the hottest young acoustic musicians from all over the country to meet for a week-long intensive. In 2015, Mike was presented with the Gathering’s Master Music Maker award for lifetime achievement, and he has just launched his newest venture, the Global Mandolin Retreats, an exquisite mandolin gathering at fabulous locations around the world. Mike tours and records these days with his wife, German classical mandolin virtuoso Caterina Lichtenberg. Together these two are bridging their very different mandolin worlds into a cohesive whole while chasing after their two beautiful daughters Josefine and Pauline. They have three CDs on the Adventure Music label including one of Johann Sebastian Bach duets for Mandolin and Mandocello. Some of the groups that Mike helped found include The Montreux Band, The Modern Mandolin Quartet, New Grange, The Big Trio, Psychograss and the Mandolin Symposium, a seminar cofounded with David Grisman that ran for 12 years. www.mikemarshall.net

TIM CONNELLA graduate of the New England Conservatory of Music and a virtuoso mandolinist with over twenty years professional performing experience, Tim Connell has created a sophis-ticated and original global style on the mandolin. Widely regarded as one of the top North American interpreters of the Brazilian choro style on the mandolin, Tim has his own unique voice on the instrument, described in a Mandolin Magazine feature story as “fiery and energetic, soulful and evocative.” He regularly tours Europe and North America in

the international mandolin supergroup, The Ger Mandolin Orchestra and has been a fea-tured guest artist at national conventions of the Classical Mandolin Society of America and the prestigious Mandolin Symposium. he performs with with his Brazilian choro duo, Rio Con Brio, the 1930’s-era swing quartet Stumptown Swing, world mandolin duo Mando Planet, Americana songsters The Old Yellers and guitar wizard Eric Skye. Currently an Adjunct Professor of Music at Lewis and Clark College in Portland, OR, Tim’s latest releases include June Apple, an album of bluegrass fiddle tunes with guitarist Eric Skye, and MandAlone, a collection of original solo mandolin arrangments includ-ing his popular arrangement of “Here Comes the Sun.” www.timconnellmusic.com

Mando & Banjo July 29-August 4

Mando & Banjo Week features classes in two of the instruments that are at the core of several of the most popular folk genres we offer, including bluegrass, old-time, Irish and Scottish, as well as some of the more adventurous blendings of traditional and jazz flavors known as ‘new acoustic’ music. For the mandolin students, we also offer classes in improvisation, traditional swing/jazz, classical mandolin, blues and, new this year, Brazilian choro, while the banjo students can sample a variety of classes in three-finger plucked or clawhammer styles. Mando & Banjo Week has been paired with our Fiddle Week, offering classes in similar styles, to encourage students from both programs to jam with each other, and with guitar classes in both programs to provide rhythm players, the possibilities for impromptu bands and jam sessions are rich, indeed. There will be concerts throughout the week featuring our world-class staff, and the Student Showcase at week’s end will be a performance opportunity for those students who wish to show off what they have learned. Most classes are taught at the intermediate or advanced level, but we continue to offer a few introductory classes for students who want to gain confidence in learning and playing by ear, and for those who are newer to the instrument. For the intermediate classes, it is recommended that students have mastered beginning skills, be able to tune their instruments, keep time, play the principal scales cleanly, and know how to play a few tunes with confidence. This level is also appropriate for advanced players who would like to explore a style that is new to them, or for experienced players who need to get more fluent playing by ear. The advanced classes are designed to build on previous experience in the style. Advanced students should be able to easily learn by ear, have a basic repertoire in the style, and be comfortable playing in more difficult keys. During the last hour before supper, there will be a special class time for students of any skill level to form bands, along with students from Fiddle Week, or participate in the Daily Bluegrass Jam, or visit our Luthier’s Exhibit featuring several luthiers including mandolin builders Max & Lauri Girouard, bowmaker Roger Treat, and violin maker Joe Thrift who will be demonstrating their craft and will also have finished works on hand to sample. Master luthier Lynn Dudenbostel will once again be on hand to offer repair services.

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DON STIERNBERGDon Stiernberg recently began his fifth decade as a working musician. Along the way he has been involved in many mu-sical activities: performing, writing, recording, producing, and teaching, but is best known for his mandolin playing. Born and still based in Chicago, the mandolin found Don as he grew up ‘out in the woods’ in the nearly-rural suburb of Wauconda, IL. Things came into focus both mandolin- and life-wise when his parents sent Don to study with Jethro

Burns, the famous comedian(Homer and Jethro) and the greatest mandolinist of his time. From the very first lesson, Burns was more than a teacher. He was a role model, hero, mentor, and friend, and Stiernberg was hooked and hooked bad on the mandolin. Currently, Don is regarded as a leading exponent of jazz mandolin style,and a respected teacher. The most recent of his nine recording projects is Good Numbers, a collection of standards and jazz tunes played by his working band, The Don Stiernberg Trio, which has performed coast to coast as well as in Germany and Brazil. In 2016, Don released three online video instructional courses for Soundslice.com and he also conveys his love of the mandolin and music at events such as The Mandolin Symposium(CA), The Swannanoa Gathering(NC), Django in June(MA), Mandolin and Guitar Camp North(MA),Steve Kaufman Acoustic Camp(TN), River of the West Mandolin Camp(OR), Cape Cod Mandolin Camp(MA), Ashokan Swing Week(NY), Accademia Internacionale di Mandolino(Italy), European Mandoline Akademy(Germany)and Momento Rio Bandolim(Brazil). www.donstiernberg.com

CATERINA LICHTENBERGCaterina Lichtenberg is one of the premier classical man-dolinists in the world today. As a featured soloist, Ms. Li-chtenberg has performed with the New Century Orchestra under Nadja Salerno-Sonnenberg, the LA Guitar Quartet, the Brandenburgisches Staatsorchester of Frankfurt under Diego Fasolis and the Aachen Chamber Orchestra. She has also performed with the Dresden Symphony Orches-tra, the MDR Orchestra under Fabio Luisi, the Leipzig Gewandhaus Orchestra under Riccardo Chailly, the MDR Sinfonie Orchestra under Howard Arman, the Radio Symphony Orchestra of Berlin and the Bavarian Radio

Symphony Orchestra under Lorin Maazel. She’s also performed with Art Garfunkel on live German TV. Caterina currently holds the only position in the world for Classical Mandolin at the Music Conservatory in Cologne, Germany and also teaches online through ArtistWorks, where students can get personal feedback on their playing from Caterina through the company’s patented Video Exchange System. She has also been a juror and a sought-after lecturer/teacher at numerous events around the world including the European Plucked String Orchestra in Logroño (Spain) and Bologna (Italy), the International Mandolin Festival in Kobe ( Japan), The International Mandolin Conven-tion in Washington, Minneapolis and San Diego (USA), The Mandolin Symposium in Santa Cruz, California and she has been a part of the Swannanoa Gathering Mando & Banjo Week since its inception. Caterina also has published numerous instructional books and filmed two DVD instructional videos for Homespun Tapes. Caterina’s solo CDs are some of the most important recordings of classical mandolin music of our time and she continues to push the boundaries of her instrument and expand the man-dolin repertoire. To date, Caterina has released 10 CDs under her own leadership in a variety of chamber music settings, five with guitarist Mirko Schrader. As a specialist on early period instruments, Caterina was invited to record on a 1775 mandolin from the Ferdinandeum Museum in Innsbruck, Austria. With her current musical partner, Mike Marshall she has recorded 3 CDs on the Adventure Music label. In 2017 Caterina and Mike Marshall launched their international mandolin educational event called the Global Mandolin Retreat. Caterina has performed at the Schleswig-Holstein Musik-festival in Germany with violinist Daniel Hope, The Rome Chamber Music Festival, The Carmel Bach Festival, the Savannah Music Festival , the Baroque Festival Santa Cruz, the Rockygrass, Grand Targhee and Wintergrass Bluegrass festivals, the Festival de Mandolins de Lunel France and the Arte International Mandolin Festival in Japan. www.caterinalichtenberg.de

PAUL BROWNPaul Brown has been hooked on traditional southern music since early childhood, when he started picking up songs his mother had learned as a kid in piedmont Virginia. Paul took up banjo at age ten and fiddle a bit later. His playing bears influ-ences of the North Carolina and Virginia masters he sought out as a young adult, and he loves to share what he learned from these memorable players, and the styles and tunes he’s created himself. He also loves dancing and playing fiddle and banjo

for square dances. Paul has appeared at camps and festivals around the U.S. since the early 1970s including many times at our Old-Time Week. He’s recorded and produced highly-regarded traditional music albums, and won numerous banjo and fiddle contests. www.paulbrown.us.com

TERRI McMURRAYTerri McMurray has a sharp wit, a memorable smile and great chops on 5-string banjo, banjo uke, and guitar. Music drew her to the southern Appalachian mountains in 1982. She looked and listened hard during her many years around some of the great master traditional musicians in North Carolina and southern Virginia, and it shows in her playing. She co-founded the Old Hollow String Band and played for more than 20 years with the Toast String Stretchers, the most active band in the

well-known metropolis of Toast, NC, between Round Peak and Mount Airy. She cur-rently plays with Paul Brown in the Mountain Birch Duo. Terri is a well-loved teacher known for her engaging manner, patience and ability to work with students of all ages.

ALAN MUNDEAlan Munde began his long career in bluegrass music with the 1968 recording of Poor Richard’s Almanac featuring Sam Bush and Wayne Stewart, followed by a grounding in traditional bluegrass music with IBMA Hall of Fame member Jimmy Martin and the Sunny Mountain Boys. In 1972, Alan joined his college picking friend Byron Berline in the progres-

sive bluegrass group Country Gazette. Alan continued as the anchor of the group for 21 years. Along the way, he recorded many highly-regarded albums including Banjo Sandwich, the Festival Favorites series and he was featured on the 2001 IBMA Instrumental Album of the Year, Knee Deep in Bluegrass. His most recent recording is a duo CD with mandolin player Billy Bright entitled Bright Munde. Alan and Beth Mead-Sullivan have authored a new tab book of banjo arrangements entitled The Great American Banjo Songbook, published by Hal Leonard and featuring 70 songs from the golden era of American songwriting. He taught in the Bluegrass Music Pro-gram at South Plains College in Levelland, Texas for 20 years and has also published many instructional books for Mel Bay, instructional DVDs for Texas Music and Video, and participated in music workshops and camps in both America and Europe. www.almundesbanjocollege.com

EMORY LESTEREmory Lester has been a notable fixture in the acoustic mandolin world for the past four decades, and is an innovator of mandolin technique and a renowned creative artist, multi-instrumentalist, and instructor. His large body of recorded work has placed him among the elite mandolinist of our time. The power and attack of his mandolin playing are unmatched, and his sound is infectious. He has inspired and influenced many of our current generation’s mandolin players, and pointed the way with his clean, clear,

fast and efficient mandolin technique. Emory has performed across the U.S., Canada, Europe, U.K. and Czech Republic, with Clawgrass banjoist Mark Johnson, Wayne Taylor and Appaloosa, his own Emory Lester Set and Emory Lester & Jill Jones Band, as well as a roster of famous notables such as Del McCoury, Tony Rice, Steve Martin (on The David Letterman Show), Babik Reinhardt (son of Django), and recently Jim

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Hurst, to name a few. He has a long and impressive body of recorded works including two new releases, Acoustic Milestones 20 Years with Mark Johnson, and On Christmas Night, with special guest Jill Jones, as well as his At Dusk solo recording, all showcasing Emory’s musical creativity and skill. A sought-after instructor of mandolin, banjo and guitar, he has a world-wide roster of Skype students and has taught at many prestigious music camps and workshops in the U.S., Canada, Europe and the U.K. for the past 15 years. www.emorylester.com

BILL EVANSBill has taught hundreds of thousands of banjo players of all levels from all over the world through his best-selling books and DVDs, hundreds of camp and workshop appearances and private lessons. His books Banjo For Dummies, Bluegrass Banjo For Dummies and Parking Lot Pickers Songbook: Banjo Edition, along with nine Homespun, Murphy Method and AcuTab DVD projects have set the modern standard for bluegrass banjo instruction. He has mentored professional players Chris Pandolfi, Greg Liszt, Wes Corbett and Jayme Stone among

many others. Bill’s latest CD release is More Fine Times At Fletcher’s House with Nor-man & Nancy Blake, and his most recent DVD set is Licks-ercises for Bluegrass Banjo from Homespun. He has performed with David Bromberg, Dry Branch Fire Squad, Peter Rowan, David Grisman, Laurie Lewis, Jody Stecher, Hazel & Alice, Mike Seeger and many others in a career that now spans over four decades. He currently tours with his solo show, The Banjo in America, and he also appears with guitar flatpicking legend Dan Crary. www.billevansbanjo.com

JOHN REISCHMANA Juno-nominated and Grammy-award winning artist, John Reischman is one of the premier mandolinists of his generation, known for his work with his band, the Jaybirds, and his acclaimed solo albums, but he got his start in the late 1970s as an original member of the Tony Rice Unit with whom he helped define the “new acoustic music” movement. Influenced by Bill Monroe, but also by such adventurous players as Sam Bush, David Grisman, and jazz mandolinist Jethro Burns, Reischman performed during

the 1980s with the seminal bluegrass band, The Good Ol’ Persons. In 1996, he won a Grammy as part of Todd Phillips’ all-star tribute album to Bill Monroe, and he’s col-laborated with a remarkably wide range of artists, such as Kathy Kallick, Scott Nygaard, Tony Furtado, Chinese Music ensemble Red Chamber, and more. Long inspired by Latin American roots music, from Puerto Rican cuatro to Brazilian choro music, John’s been exploring this music and forging new compositions from these inspirations in his duo with Seattle master acoustic guitarist John Miller. In 2013, John released his third solo album, Walk Along John, a celebration of his long career, with old friends like fid-dler Bruce Molsky, banjoist Tony Trischka, the Punch Brothers’ Chris Thile, bluegrass guitarist Kenny Smith, plus members of the Jaybirds and new friends such as guitarist Eli West of The Deadly Gentlemen. www.johnreischman.com

DAVID SURETTEOne of New England’s premiere instrumentalists, David Surette is highly regarded for his work on the guitar (both flatpicked and fingerstyle), mandolin and bouzouki in a wide variety of settings. As a soloist, he is nationally-known as a top player of Celtic fingerstyle guitar, yet his diverse repertoire also includes original compositions, blues and ragtime, traditional American roots music, and folk music from a variety of traditions, all

played with finesse, taste, and virtuosity. He has performed as a duo with his wife, singer Susie Burke, for over 20 years, recording several albums and building a reputation as one of New England’s top folk duos. Surette was a founding member of the Airdance band with fiddler Rodney Miller, with whom he recorded four albums and toured nation-ally. He has also released five solo recordings – his most recent is Return to Kemper, a collection of original and traditional solo guitar pieces from 1990-2011. David is an

accomplished and gifted teacher who has taught at workshops and camps throughout the U.S. and the U.K. He is folk music coordinator at the Concord (NH) Community Music School, and artistic director of their March Mandolin Festival. He has authored a book of Celtic fingerstyle guitar arrangements for Mel Bay Publications, and is a regular contributor to Acoustic Guitar and Strings magazines. www.burkesurette.com

DON JULINDon Julin, author of the best-selling Mandolin For Dummies, and founder of Mandolins Heal The World (www.mandolin-shealtheworld.com) is regarded as one of the most eclectic mandolin players and top mandolin instructors on the scene today. The fiery bluegrass duo Billy Strings & Don Julin gained critical acclaim with non-stop touring and two independent re-cordings, Rock of Ages and Fiddle Tune X. They played hundreds of house concerts, club gigs and major festivals including DelF-est, RockyGrass, Grey Fox, ROMP, Wintergrass, Pickathon,

Wheatland, and more. Don has been a featured mandolin instructor at The Mandolin Symposium, Wheatland Music Camp, Rockygrass Academy, Wintergrass Mandolin Intensive, Jim Richter’s Mandolin Camp For The Rest Of Us, Midwest BanjoCamp, and others. His workshops, classes, and private lessons feature a hands-on approach focusing on developing good left- and right-hand skills, along with a dose of ear training and music theory. Don is passionate about the mandolin and believes that the prince of all stringed instruments can be used effectively in a variety of genres including jazz, pop, latin, funk, reggae, and of course, bluegrass. www.donjulin.com

STEVE JAMESBest known as a blues guitar monster, and a long-time instruc-tor in our Guitar Week, Steve James found his first mandolin in a pawnshop in Johnson City, Tennessee and, inspired by string wizard Yank Rachell, taught himself to play a blues in the key of G. “About fifteen years later”, he relates, “I ran into Howard Armstrong who showed me how to play another song!” Some more years and several keys later, Steve has created print and

video instruction programs on blues mandolin for String Letter and Homespun and has followed a directive from Yank Rachell who told him: “You got a good guitar and a good mandolin, you can go all over the world!” www.stevejames.com

ED DODSONEd was the lead guitarist and singer for Wood & Steel, a blue-grass band based in the Piedmont region of North Carolina. Bluegrass Unlimited called their 2007 release, Poor Boy, “a masterpiece of hard-driving bluegrass.” Tony Rice calls their music, “Bluegrass, in one of its most pure, unfiltered forms; played by good musicians.” Wood & Steel’s music was featured nationally in Home & Garden Television’s 2002 special, Barns

Revisited, and Ed has recorded three albums with mandolin player/builder Skip Kelley, including their 2010 release, Hopped That Train and…Gone. Ed is an accomplished songwriter, and a powerful rhythm and lead player with a deep abiding love of traditional music. www.woodandsteelband.com

LYNN DUDENBOSTELAmong many players, Lynn’s intruments are some of the most highly prized, and he is usually listed among that rareified group of the very best luthiers. Inspired by the vintage Martin guitars and Gibson mandolins of the 1920’s and 1930’s, Lynn became a full-time luthier in 1997 and continues to build traditional-style guitars and mandolins in his shop in Maryville, TN. This is Lynn’s sixth year as our luthier-in-residence, offering repair services throughout the week. www.lynndudenbostel.com

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SOLO ARRANGEMENTS FOR MANDOLIN (Tim Connell)Learn to play several popular tunes arranged for solo mandolin. Tim will provide free copies of notation and tab for three tunes from his new album, MandAlone – “Here Comes the Sun,” “Yesterday” and “Somewhere Over the Rainbow.” These arrangements will serve as examples and a springboard for a discussion of various strategies for arranging melodies and chords for solo mandolin.

KICKOFFS, TURNAROUNDS, LICKS & BEYOND (Alan Bibey)This class is for intermediate players, and a basic knowledge of double stops will be of help. We will cover various ways to kick off songs in many different keys but also take it to the next level. We will explore building your solos for an entire song and then adding the ornamentation to make your basic breaks more interesting. This will be of help for folks looking to get out of a “rut” of doing things the same way. This class will be helpful in giving you the tools to be creative with other songs you encounter in your musical journey. We’ll also cover classic licks to make your playing sound more authentic. Questions are welcomed and appreciated as always! I also encourage you to bring recording gear. There will be handouts as well.

ROAD TO IMPROV FOR ADVANCED BLUEGRASS MANDOLIN (Alan Bibey)This class will be for the more advanced skill level. We will study some tunes that are better-known as well as some that are more obscure and then concentrate on some other ways to play them incorporating licks or ‘ideas’ that will lead us down the path to true improvisation. We will cover some rhythmic ideas as well. This will be an exploration of the mandolin that will help you on the road to creating your own style. All questions are welcomed and encouraged. There will be handouts and some playing by ear in this class.

OLD-TIME/EARLY BLUEGRASS MANDOLIN (John Reischman)In this class, the emphasis will be on learning to keep the basics in mind, i.e., playing a song’s melody cleanly with good tone and timing. We will learn some fiddle tunes and songs from the old-time repertoire. The fiddle tunes will show the proper right-hand picking patterns. The songs will incorporate double stops. We will also look at the bluesy style of Bill Monroe and other early bluegrass practitioners like Everett Lilly and Pee Wee Lambert. We’ll also discuss basic technique, with emphasis on tone production. Prerequisites: students should know all the standard bluegrass closed chop chords, and know some fiddle tunes and be able to play them at a reasonable tempo. Students are encouraged to bring a recording device.

ADVANCED MANDOLIN TECHNIQUES (John Reischman)In this class we will learn some advanced mandolin techniques by studying a few of John’s original tunes and other instrumentals from his repertoire. For example; to work on double stops and tremolo we will learn “The North Shore.” For uptempo bluegrass style playing we will learn “Big Bug” and “Side by Each.” For single-note fiddle tunes we will learn “Itzbin Reel” and “Cazadero.” For more progressive bluegrass and ‘new acoustic’ music with more complicated chord progressions we will learn “Birdland Breakdown.”

Mandolin

OPENING MANDO DOORS 101 (Mike Marshall)This class will be an overview of my approach to playing the mandolin. There will be a strong emphasis on basic posture, technique and fundamentals. We will work on some simple tunes by ear, play some of the classics fiddle tunes and bluegrass songs together and discuss how to move forward with each of our stumbling blocks. We will cover some of the basic chord shapes and how to move them around into other keys. We’ll look at some rhythm patterns that can be most useful and I’ll show you some finger exercises and basically keep it at a reasonable pace, light hearted and fun.

OPENING MANDO DOORS 201 (Mike Marshall)This class will go at a much quicker clip than my 101 class. We will learn some more advanced fiddle tunes, talk about how to create variations and improvise on these tunes. We’ll work on our classic bluegrass repertoire improv and learn some Brazilian choro and jazz tunes. We’ll discuss the deeper side of music theory and how it applies to the mandolin in terms of chord construction, but also scales and arpeggios up and down the entire fingerboard. We’ll discuss improvisation and do some fun call-and-response work to try to open up those creative blocks that you all might be coming up against and give you some tips on speed development.

INTERMEDIATE BLUEGRASS MANDOLIN (Emory Lester)This class will focus on many subjects designed to improve the clarity and precision of your mandolin playing, including technique (both left- and right-hand), tone, playing with clarity and confidence, crosspicking ideas, playing up the neck, rhythms and rhythm playing at speed, chord inversions, rehearsal strategy and thoughts for practicing. Handouts will be provided, and tablature will be used in the handouts and in the teaching of this class. Bring your audio or video recording devices if you wish, and lots of questions are always useful and welcome, and often provide interesting and informa-tive topic exploration.

THE ART OF CREATIVE MANDOLIN (Emory Lester)This class will be a forum on learning how to embellish and tap into ever-expanding creative sources, to open up lyrical possibilities of improvisation presenting your melody on the mandolin. Learn how to recognize the tools of creativity, and how to use your creative pallette to treat your listeners to fresh ideas and creative mandolin breaks. The class will also delve into improvisation, and Emory will take the class through creative improvisation exercises, and get you started on your way to creating great solos that are fun and always evolving. A collection of classic and modern bluegrass and newgrass songs will be studied and played by the class. Handouts will be provided.

CHORO MANDOLIN (Tim Connell)A Brazilian cousin of dixieland and ragtime, choro has experienced a revival in the last few decades in Brazil and increased popularity here in America, thanks in particular to the fact that it prominently features the mandolin. In this workshop, students will learn to play a few classics of the choro rep-ertoire: Não Me Tocques, Naquele Tempo and Receita de Samba. Tim will provide a brief music appreciation session as well, with recorded samples of the masters of the genre, and a layout of the form and idiosyncracies of the genre. Take-home sheet music and mandolin tablature provided.

lasss(Unless otherwise indicated, all classes have a limit of 15)

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We might even touch on jazz chord/melody by looking at “Somewhere Over the Rainbow.” We will also study chordal accompaniment, improvisation, and tone production.

INTERMEDIATE SWING/JAZZ MANDOLIN (Don Stiernberg)“Rhythm & Repertoire.” Improve your accompaniment playing in any style by adding color tones, connecting chords, substitutions, and ‘cool notes.’ We’ll learn some ultra-standard swing jam favorites and increase our understanding of chord progressions and how to dress them up – what to add, what to leave out. Amaze your friends and fans! Why play 3 chords when you could play 50?

ADVANCED SWING/JAZZ MANDOLIN (Don Stiernberg)“Melodic Materials.” Here we’ll approach improvisation from a few differ-ent angles: ornamenting the melody of a tune and examining how other players have done so; making fills in the spaces of a melody and examining how other players have done so; making a new melodic solo by drawing notes (the Good Notes!) from a tune’s chord progression. Learn some chops by developing some essential swing and jazz melodies: “the fiddle tunes of jazz.” Learn many licks and tricks for adding swing feeling and schnazzy jazzy pizazz to your melodic creations.

CLASSICAL MANDOLIN BASICS (Caterina Lichtenberg)This class will bridge the gap between the folk mandolin and classical man-dolin. We will begin by working on the fundamentals of sound production, then move on to some basic mandolin techniques that include cross-picking, some nice exercises and some wonderful melodies. Lastly, we will work on coordination and speed, but we’ll keep the focus on having fun. The ability to read music will really help in this class.

ADVANCED CLASSICAL MANDOLIN (Caterina Lichtenberg)This class requires the ability to read music. We will build on the classical mandolin basics and the pieces will become a bit more challenging. We will focus on the great repertoire spanning 300 years of classical mandolin literature. We will also work on speed, double stops, coordination, tremolo, duo style, and the harp arpeggio techniques from the 18th and 19th centuries on some beautiful original mandolin compositions.

IT’S ALL IN THE RIGHT HAND (Don Julin)Whether you play fiddle tunes, rags, bluegrass, classical, jazz, or Led Zep-pelin songs, a well-organized right hand is essential to mandolin playing. This class includes a series of exercises designed to build right-hand strength and coordination along with tunes that make good use of these important skills. Topics will include holding the pick and relaxing your right hand; making a full, sweet sound; alternate picking and metered tremolo; triplets; down-strokes and when to use them; cross-picking and jig picking basics.

JAMMING FOR DUMMIES (Don Julin)Ever wonder how some musicians can just make up solos on the spot? This class explains some of the basic elements of the language of the improviser including common types of improvisation techniques used in a variety of musical styles. Learn to use these crucial improvisation tools: punctuation – developing phrases that have beginnings, middles, and endings to tell a story; melodic improvisation – improvising based on an existing melody; harmonic improvisation – improvising based on the chord structure of a tune; drama – exploring tension and release in music; the blues – the American sound and how to use it in a variety of styles; effective workout – getting the most from practice tracks/apps.

BLUES MANDOLIN (Steve James)Blues has been played on the mandolin since syncopating string bands roamed the streets of America’s Ragtime Era. The repertoire is vast, and it’s inter-preters have included some real giants on the instrument. These hands-on sessions will be devoted to exploring and adapting some sounds from that legacy. Basic picking and fretting techniques will be applied to bluesy song arrangements. These will include melody, chord- and riff- accompaniment , plus some musical vocabulary for mandolinists who like to improvise. Some hand-outs will be supplied, and those who wish to use recording devices will be accomodated, but the emphasis here will be on actively playing by ear.

MANDOLIN FOR THE COMPLETE BEGINNER (Steve James)Mr. James believes that every human being is born with the innate ability to play “Shortnin’ Bread” on the mandolin; and that by realizing this potential, anyone can open the door to a world of music. (He offers his own career as evidence.) This class will present basic technique instruction along with songs for “first time” mandolinists to play, solo and as a group. We’ll start with “Shortnin’ Bread”…since you already know it.

CELTIC MANDOLIN & TENOR BANJO (David Surette)This class will explore the different ways the mandolin can play a role in Celtic music, with a focus on both melodic playing and varied forms of ac-companiment, both for tunes and for songs. We will look at various stylistic elements that are essential to Celtic music, and will also cover topics that will be useful for musicians in many styles. We will also work on technical elements such as picked triplets and drone and modal-based playing. Classes will be taught mainly by ear. Students are encouraged to bring an audio recorder, pen and notebook. Note: this class is also open to tenor banjos in Irish tuning (GDAE), an octave below the mandolin. The technical elements will be similar for both instruments.

Banjo

INTERMEDIATE BLUEGRASS BANJO A (Alan Munde)In this class for intermediate players, we’ll analyze the solos of Earl Scruggs on “Blue Ridge Cabin Home,” “Your Love is Like a Flower,” and “Little Darlin’ Pal of Mine.” We will take a musical and technical pilgrimage as we explore in detail “John Henry,” and “Thinking Tonight of My Blue Eyes” from the Jimmy Martin/J.D. Crowe repertoire. We’ll also look at practical ways to search for melodies, explore the concept of “play where your fingers are,” learn how to play backup by combining chord shapes, rolls, licks, and runs to produce quality bluegrass banjo accompaniment, and learn to combine the rolls and melodies in a stylized fashion that produces bluegrass banjo solos. Tab will be provided, and use of a small audio recorder is encouraged. (Class limit: 20)

ADVANCED BLUEGRASS BANJO A (Alan Munde)This class for advanced players will cover “Nine Chord Shapes That Explain the Fingerboard” by learning the names of the notes and where they are, diatonic chord systems, intervals, and much more. We’ll look at how to play in keys other than G without a capo, how to create beautiful and interesting back-up and chord solos for slow songs, the melodic style of playing fiddle tunes (and the different way of viewing the fingerboard needed to perform them), including “Red Apple Rag,” and “Lonesome Indian,” and we’ll take a look at some of Alan’s original tunes including “Peaches and Cream,” “Molly Bloom,” and “Munde Night Waltz.” We will look into the playing style of Allen Shelton during his years with Jim and Jesse and the Virginia Boys and explore Shelton’s playing on “Blue Bonnet Lane,” “Standing on a

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Mountain,” two standard bluegrass roll-based solos; “Company’s Coming,” a great lesson in playing in the key of F without a capo; and “Congratula-tions Anyway,” an inspiring playing of a slow country-type song. Tab will be provided, and use of a small audio recorder is encouraged. (Class limit: 20)

INTERMEDIATE BLUEGRASS BANJO B (Bill Evans)Learn Bluegrass Banjo Jam Survival Skills! Knowing what to play when accompanying others is the key to having confidence and experiencing the joy of making music with others in bands and jam sessions. This will be a practical, easy to understand “hands-on-and-let’s-pick” week of classes covering techniques that you can put to immediate use in your next band rehearsal or the evening Swannanoa Gathering jam sessions! We’ll begin by mapping out the fretboard and create road maps using movable chord shapes for vamping in different keys using classic songs and fiddle tunes as examples. We’ll move on to down-the-neck roll pattern backup, with a focus on using forward rolls to give your backup that extra drive and power. We’ll then venture up the neck to learn some of the great sounding backup strategies pioneered by Earl Scruggs, J. D. Crowe and Sonny Osborne using the “In The Mood” roll, D-position licks and classic fill-in licks. Along the way, we’ll learn how to quickly hear new chord progressions, use the capo to play in any key and know what to play when. Tablature examples will be presented for everything that’s covered but it’s not necessary to read tab well to get a great deal from this workshop. Audio or video recording is encouraged. (Class limit: 20)

ADVANCED BLUEGRASS BANJO B (Bill Evans)Exploring Progressive Banjo Styles. Melodic and single-string banjo styles, as developed by Bill Keith, Don Reno, Bela Fleck and Noam Pikelny can not only add excitement to your traditional bluegrass playing but also open the door to create solos for fiddle tunes, jazz and classical pieces and greatly increase your improvisational options for all styles of playing. We’ll analyze the picking- and fretting-hand techniques used for melodic and single-string banjo from the very basics to more advanced explorations of the upper reaches of the fingerboard through step-by-step exercises in different keys that you can turn into licks and solos. You’ll gain an understanding of the similarities and differences of these two ways of playing, explore how each approach utilizes the fingerboard, how to create licks in each style, and we’ll try a bunch of great tunes that allow you to put to use the techniques you’ve learned. Short daily assignments will allow you to progress through the materials in an easy-to-understand, step-by-step approach. (Class limit: 20)

INTERMEDIATE CLAWHAMMER BANJO (Paul Brown)This class will help you build your skill and style on the banjo through a combination of repertoire, technique, practice and context. We will work on keeping excellent time, understanding melody and refining style as we learn both classic and more obscure tunes of the southern mountains. Come prepared to explore repertoire of legacy players including Wade and Fields Ward, Tommy Jarrell and other Round Peak artists; Matokie Slaughter, Giles Lephew and more. We will also consider the history and context of southern mountain banjo music through commentary and listening to re-cordings. About three quarters of our class time will be devoted to learning on the instrument, and about one quarter to context and guided listening to recordings of outstanding legacy artists. Come prepared to play your banjo, clap and sing. You’ll have a great time and learn a lot. Please bring extra strings, a capo and, if possible, a banjo strap. Recording devices are encouraged.

ADVANCED CLAWHAMMER BANJO (Paul Brown)This class presents an opportunity to focus at an advanced level on tunes, tunings, technique, style and context. You should arrive able to play com-fortably in at least three keys in clawhammer style and able to tune your instrument with some facility. We’ll consider the core characteristics of the

banjo – melody, drone, rhythm and percussion – and how to bring them out in clawhammer style. We’ll work on training the ear for melody, and we’ll focus at a high level on keeping exquisite time. We will add repertoire, mostly from the southern mountains, in unusual as well as standard tun-ings. We will devote about a quarter of the time in each class to the history and context of southern mountain traditional music, including guided listening to recordings of great banjo players past and present. This will provide understanding you need to best bring out the instrument’s core characteristics at your level of playing. You’ll have the opportunity to play in a duo with your instructor on the fiddle or guitar, further improving your understanding of timing and of interplay with other instruments and musicians. Please bring extra strings, a capo and if possible a banjo strap. Recording devices are encouraged.

CLAWHAMMER BANJO BASICS (Terri McMurray)Intrigued with the sound of clawhammer banjo? This is the class for you! We’ll work on the basic clawhammer down-stroke style, develop some left-hand techniques (slides, hammer-ons & pull-offs) and pull these all together using some simple, yet great, southern tunes. This class is designed for players new to the banjo or new to the clawhammer style. I can promise a fun, comfortable pace. Singing and laughter is encouraged! I encourage you to bring a capo, extra strings, a strap and a recording device. Tablature will be provided for most of the tunes AFTER we’ve worked on them.

ROUND PEAK BANJO (Terri McMurray)Although there isn’t one specific Round Peak clawhammer banjo style, there are elements of style that contribute to a recognizable sound from the Round Peak region of northwest North Carolina. This intermediate/advanced class will explore some well-known tunes from the great players of the Round Peak community. We’ll focus on the space, style and timing that make this music recognizable. We’ll go at a comfortable pace in a safe, fun and encouraging environment and spend some time during each class listening to the masters. As the week progresses, we’ll practice refining our tunes to the playing of a particular fiddler. For the most part, we’ll play in the keys of A and D. I encourage you to bring a capo, extra strings, a strap and a recording device. Tablature will be provided for some of the tunes AFTER we’ve worked on them.

Guitar

BLUEGRASS GUITAR ACCOMPANIMENT (Ed Dodson)This class focuses on how to play powerful bluegrass rhythm guitar. We will work on alternating-bass styles of playing as well as using bass runs and other motion within the chords to accent your vocals or the instrumentalists you’re playing with. In addition to these basic building-block techniques, we will learn the rhythm accompaniment part to one bluegrass song or tune each day. The class will present songs/tunes that allow you to see the rhythm patterns that work effectively in most of the first-position chord families. We will also discuss how to use a capo to get the song in a key to fit your voice. All levels of participants are welcome. Familiarity with guitar chords and knowledge of guitar tablature is helpful, but not required. Participants are encouraged to bring recording devices to class and also encouraged to participate in the Bluegrass Jam that Ed will lead every afternoon, as a way to reinforce the techniques learned in class as well as learn additional songs/tunes.

ADVANCED BLUEGRASS GUITAR ACCOMPANIMENT (Ed Dodson)This course will delve into more advanced forms of bluegrass guitar rhythm playing. In addition to learning our way around the standard “boom-chuck” bass note and strum patterns that form the foundation of bluegrass rhythm guitar, we will explore more advanced moving bass lines, substitute chords

Mando & Banjo Week, July 29-August 4, 20187:30- 8:30 Breakfast

9:00- 10:15Opening Mando

Doors 101 (Marshall)

Choro Mandolin (Connell)

Intermediate Bluegrass Mandolin

(Lester)

Advanced Bluegrass Banjo A

(Munde)

Jamming for Dummies

(Julin)

Clawhammer Banjo Basics (McMurray)

Old-Time/Early Bluegrass Mandolin

(Reischman)

Bluegrass Guitar Accompaniment

(Dodson)

10:15- 10:45 Coffee/Tea Break

10:45- 12:00Opening Mando

Doors 201 (Marshall)

Solo Arrangements for Mandolin

(Connell)

Advanced Mandolin Techniques (Reischman)

Kickoffs, Turnarounds Licks & Beyond

(Bibey)

Round Peak Banjo

(McMurray)

Mandolin for the Complete Beginner

(James)

Intermediate Bluegrass Banjo B

(Evans)

Advanced Bluegrass Guitar Accompaniment

(Dodson)

11:30- 1:00 Lunch

1:15- 2:30Advanced

Swing/Jazz Mandolin(Stiernberg)

Celtic Mandolin & Tenor Banjo

(Surette)

Intermediate Bluegrass Banjo A

(Munde)

The Art of Creative Mandolin

(Lester)

Classical Mandolin Basics

(Lichtenberg)

It’s All in the Right Hand (Julin)

Intermediate Clawhammer Banjo

(Brown)

2:45- 4:00Intermediate

Swing/Jazz Mandolin(Stiernberg)

Celtic Guitar Accompaniment

(Surette)

Road to Improv for Adv. Bluegrass Mandolin

(Bibey)

Blues Mandolin

(James)

Advanced Classical Mandolin

(Lichtenberg)

Advanced Bluegrass Banjo B

(Evans)

Advanced Clawhammer Banjo

(Brown)

4:15- 5:15 Luthiers Exhibit, Band Sessions & Daily Bluegrass Jam (Dodson)

5:00- 6:30 Supper

7:30- ? Evening Events (open mikes, concerts, dances, jam sessions, etc.)

and inversions, and even some basic three-note swing rhythm patterns to put some extra “sock” into your playing. Along the way, we’ll highlight the concepts of harmonic theory and how to select chords and chord patterns to strengthen the guitar’s support of the vocalist and instrumentalist. Famil-iarity with flatpicking and guitar chords, along with knowledge of guitar tablature is highly recommended. While tablature will be provided for most techniques and songs covered in class, participants are strongly encouraged to bring recording devices to class as a memory aid, as we will be covering some fairly challenging material.

BEGINNING SWING GUITAR (Greg Ruby)Swing guitar is fun and accessible. This hands-on class is intended for either a beginning guitarist or someone new to playing guitar in a swing style. We will use tunes common to the repertoire to learn the basics of chord voicings, pick technique, melody playing and accompaniment practices. Plan to be jamming over your favorite tunes by the week’s end. (Find this class in the Fiddle Week Schedule on page 47)

INTERMEDIATE/ADVANCED SWING GUITAR (Greg Ruby)This hands-on class will deepen your understanding of swing guitar. We will examine the guitar styles of Freddie Green, Eddie Lang, Django Reinhardt and Oscar Alemán and will utilize elements from each player. Plan to ex-pand your chord knowledge, learn how develop thoughtful accompaniment practices, play energetic chord solos and add some “hot” guitar licks into your vocabulary (Find this class in the Fiddle Week Schedule on page 47)

CELTIC GUITAR ACCOMPANIMENT (David Surette)This class will expand your range as a guitar player, and give you some new strategies and inspirations for playing. Focusing on the Irish and Breton dance tune repertoire, as well as some traditional and contemporary song accompaniments, we will focus on a range of rhythms, chord voicings, chord

families, and melodic playing that will facilitate your exploration of advanced techniques as well as basic musical truths. This class will be taught in stan-dard tuning, but will also focus on an approach that uses drones, partial chords, and moving lines. Classes will be taught mainly by ear. Students are encouraged to bring an audio recorder, pen and notebook.

Othr Evnts

DAILY BLUEGRASS JAM (Ed Dodson)In the last hour before supper, Ed will lead a non-threatening bluegrass jam for all levels and instruments. Come have fun channeling your inner Bill Monroe! (No class limit)

BAND SESSIONS (staff )During the last hour before supper, there will be a special class time for students of any skill level to form bands, along with students from Fiddle Week. With the guidance of instructors, band members arrange and rehearse with the option of performing at the Student Showcase on Friday evening. (Sign up for band sessions is at first band meeting time; no advanced reg-istration required.)

LUTHIER’S EXHIBITThroughout the week we will feature several fine luthiers displaying instru-ments, including bowmaker Roger Treat www.rogertreat.com, violin maker Joe Thrift www.josephthriftviolinmaker.com and mandolin builders Max & Lauri Girouard www.girouardmandolins.com.

ON-SITE INSTRUMENT REPAIR (Lynn Dudenbostel)Master luthier Lynn Dudenbostel will be offering his repair services throughout the week. Contact him through his website for his rates: www.lynndudenbostel.com/contact.htm

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o to gistr

1. Stop and think about what classes you wish to take. Do you really want to take a class in every period? Although our ‘open format’ allows students to take as many classes as the schedule will allow, many students find that two or perhaps three classes give them plenty to work on, and use the free periods for practice. Remember, also, that class size is limited to 15 unless indicated otherwise in the course descriptions, so out of consideration for others, “take all you want, but want all you take.”2. You may register online by visiting our website and clicking on the ‘Register’ link. This is the fastest way to register, and since many of our classes fill up in a relatively short period of time, we recommend this method as giving you the best chance to get into the classes you want. Online registration goes live at 5pm, EST on Friday, March 9.3. If you choose to use the print registration form, find the schedule for your week printed elsewhere in this catalog.4. Referring to the schedule to avoid time conflicts, make your class selections and write them in the spaces provided under ‘Class Choices’ on the Registration form.5. In the event that one or more of the classes you select are full, you may select Alternate classes, again using the schedule to avoid conflicts, and write them in the ‘Alternate’ spaces on the form. If you list Alternates for classes that are full, we will process your registration assigning you to your Alternate choices.6. If one or more of your class selections is full, and you wish to have no Alternates, check the box indicated and we will notify you of the situation and await your instructions before we process your registration.7. Cut out or photocopy the completed form, attach your payment (please note that we can only take credit card payments online), and mail it to us at the address indicated. When your registration is processed, you will be notified of the amount received, any balance due, and the classes for which you are registered. Registrants will receive an information packet later in the spring. Classes will be assigned on a first-come, first-served basis. If you wish to make changes in your class choices, please notify us immediately. Once a program week begins, students may switch after the first class meeting into another open class if they find they have made an inappropriate choice. The add/drop period ends at 6pm on Monday of each program week. After this ‘settling-in’ period, we expect students to remain in those classes, and we discourage dropping in and out of classes during the week.

s tTuition is $555 per week. This includes a deposit of $100 which is required for each week’s registration. Full payment is required by June 1 to guarantee your class choices. After that date, your class reservations will be unconfirmed until we receive your balance. If we are holding a space for you in a class that is full, and your balance is unpaid after June 1, we may release that space to another student. There is no deadline for class registrations. Registrations after June 1 for any remaining spaces must be accompanied by full payment. Payment in US dollars only, please. No foreign checks. Some classes may require materials- or other fees as specified in the course descriptions and can be paid directly to the instructor upon arrival. Tuition for the Children’s Program for ages 6-12 during Traditional Song, Celtic, and Old-Time Weeks, is $180 per child per week (includes evening childcare), with a $25 deposit required. The Children’s Program also has an additional materials fee of $30 payable to the coordinator on arrival. Children must have turned 6 by July 1st to participate. No exceptions, please.Housing is $435 per week, and includes double occupancy accommodations for six nights, supper on Sunday, three buffet-style meals a day at the Gladfelter Student Center, and breakfast on Saturday at the end of the week. A limited number of single rooms are available at an additional fee of $175 for a total housing fee of $610. The college is catered by Sodexo (828-298-1041), and low-sodium and vegetarian meals are available. Adults staying off-campus may purchase a meal ticket for $152, and meal tickets for children 12 and under may be purchased for $114. Meals may also be purchased individually. See the ‘Housing & Meals’ section on page 1 of this catalog for our policy regarding children’s housing. Some may find our hilly campus challenging, and students should give reasonable consideration to their ability to get around without assistance. Although we help where we can, we don’t have the resources to provide mobility assistance to all that require it. Those with special needs should include a detailed, written description of those needs with their registration.As long as space permits, a non-student living outside the Asheville area may accompany an enrolled student and be housed with them in student dorms for payment of the $435 housing fee and an activities fee of $160, which allows admission to all events except classes. There is a $50 deposit required to register as a non-student. If possible, full payment with your registration is helpful and appreciated.

anllations and fundsThe deposits are processing fees credited toward tuition and not student funds held in escrow, and are thus non-refundable and non-transferrable. Should an enrolled student need to cancel, we can refund all monies received other than the deposits, if notified four weeks before the student’s program begins. No refunds other than the cost of meals ($152 for adults, $114 for children) can be made for cancellations within four weeks of the student’s program week.

annanoa Gathring gistration or

The Swannanoa GatheringWarren Wilson College PO Box 9000Asheville, NC 28815-9000

Phone/Fax: 828-298-3434Email: gathering@warren-wilson.eduWebsite: www.swangathering.com

For information on admission to Warren Wilson College, contact: admit@warren-wilson.edu or 1-800-934-3536

PLEASE PRINT!

Name________________________________________________ Sex_____

Address_______________________________________________________

City__________________ State/Prov._______ Zip/Post Code____________

Country (if outside US) __________________________________________

Primary Phone____________________ Secondary Phone____________________ Email_________________________________________________________Emergency contact (name & phone number): ______________________________________________________________

o I prefer future communication by email only. o I will be bringing a vehicle (no motor homes please). o I am eligible for a special parking permit due to mobility impairment

NOTE: All attendees receive a list, with the home city, state and email (not phone), of program participants so that they might pursue friendships made at the Gathering. If you would prefer NOT to be included on this list, please check this box: o

Please initial here to indicate that you have read and understand our policy on Cancellations and Refunds printed on pages 2 and 56: ___________

rogras

I would like to register for:

o Traditional Song Week, July 1-7o Celtic Week, July 8-14o Old-Time Music & Dance Week, July 15-21o Guitar Week, July 22-28o Contemporary Folk Week, July 22-28o Fiddle Week, July 29-August 4o Mando & Banjo Week, July 29-August 4o I am a non-student accompanying the following registered student: (student’s name)__________________________________________

CLASS CHOICES: Period 1.______________________________________________________Period 2.______________________________________________________Period 3.______________________________________________________Period 4 .(if applicable) ___________________________________________o No Alternates. Please notify me of full classes before processing my registration.

ALTERNATES:Period 1.______________________________________________________Period 2.______________________________________________________Period 3.______________________________________________________Period 4 .(if applicable) ___________________________________________

ousing

o I will require housing/meals. o I will require a meal ticket only.I prefer to room with (name): _________________________________________.o I prefer a single room, if available (additional fee of $175)o I have special medical needs (please attach description) My age: List age if under 21 _______ o 21-30 o 31-45 o 46-65 o over 65 I am a o smoker o non-smoker o early bird o night owl I am registering (#)______ children in the Children’s Program (for ages 6-12)(NOTE: programs for children in Traditional Song, Celtic & Old-Time weeks only) Children’s names & ages _____________________________________________ I am bringing (#)________ additional children under the age of 12 not enrolled in the Children’s Program. Children’s names & ages _____________________________________________ I’m arriving by air; sign me up for the airport shuttle at o noon o 3pm o 5pm My flight #s, arrival & departure times are: ________________________________________________________________________________________________

s

Amount previously paid: (deposit, etc.) $________

Tuition - $555 per week (required deposit $100): $________ Housing/meals - $435 (double occupancy, no deposit required): $________ Housing/meals - $610 (single room, no deposit required): $________ Non-student Activity Fee - $160 per week (required deposit $50): $________ Children’s Program total - $180 per week (required deposit $25): $________ Meal ticket only - $152 adult; $114 per child per week: $________ Other amount for __________________________: $________ Tax-free donations to The Swannanoa Gathering (see pg. 2):

o Doug & Darcy Orr Endowment o Youth Scholarship Endowment $________

o Greatest Needs Fund TOTAL enclosed $________ o I am paying by Check (preferred) #: _________, or Money Order.

NOTE: We can no longer take credit card payments through the mail or by phone. If you wish to register with a credit card, please visit the “Register” page at our website: www.swangathering.com. If you have already registered and wish to make an additional credit card payment, contact our office at: gathering@warren-wilson.edu

Tuition is $555 per week. Housing with meals is $435 per week. Non-students accompanying students pay the Housing fee and a $160 Activities Fee. The deposits are required for registration and are non-refundable and non-transferable. Full payment required by June 1 to guarantee class choices. No deadline for registrations. Registrations after June 1 for any remaining spaces must be accompanied by full payment. Children’s Program is $180 per child per week. Please make checks payable to: “The Swannanoa Gathering”, and mail with this form to: